STILLER MAX FRISCH EPUB DOWNLOAD - Top Pdf. I'm Not Stiller (German title : Stiller) is a novel by Swiss author Max Frisch, which was. I'm not Stiller by Max Frisch, , Vintage Books edition, in English. [BOOKS] I'm Not Stiller by Max Frisch. Book file PDF easily for everyone and every device. You can download and read online I'm Not Stiller file PDF Book only if.
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whether to foHow his own path or the path defined by society. This moral struggle not only encompasses the dominant concerns of the novel but also becomes. First published: January portal7.info x. About. Figures; References; Related; Information. ePDF PDF. PDF · ePDF. The author of Montauk, Max Frisch, is better known as the author of the novels I'm Not Stiller and Homo Faber and of the plays Firebugs and Andorra. He is a.
Carrying on with the conversation like a woman when the bill comes They wanted what is possible only once: the now. Not to know one another to a degree that went beyond all possibility of knowing one another was beautiful. I know that I'm the happiest of lovers The sort of misery that brings no moral reward, misery that is of no value to the mind and soul, that is the true misery, it is hopeless, bestial and nothing else. To write is to read one's own self You hold the pen like a needle in a seismic observatory, and in fact it is not we who write, but rather we are written.
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Forgot your username? Enter your email address below and we will send you your username. Much later, in a book of her own, Sturz durch alle Spiegel, which appeared in ,  his daughter Ursula reflected on her difficult relationship with her father. Because of this substantial commission he was able to open his own architecture studio, with a couple of employees. Wartime materials shortages meant that construction had to be deferred until , but the public swimming pool was opened in It is now protected under historic monument legislation.
Overall Frisch designed more than a dozen buildings, although only two were actually built.
One was a house for his brother Franz and the other was a country house for the shampoo magnate, K. Ferster's house triggered a major court action when it was alleged that Frisch had altered the dimensions of the main staircase without reference to his client. Frisch later retaliated by using Ferster as the model for the protagonist in his play The Fire Raisers Biedermann und die Brandstifter. Much of his time and energy was devoted to writing.
From the Playhouse director Kurt Hirschfeld encouraged Frisch to work for the theatre, and backed him when he did so. In Santa Cruz , his first play, written in and first performed in , Frisch, who had himself been married since , addressed the question of how the dreams and yearnings of the individual could be reconciled with married life.
It deals with a love affair that ends badly. This same tension is at the centre of a subsequent narrative by Frisch published, initially, by Atlantis in and titled Bin oder Die Reise nach Peking Bin or the Journey to Beijing.
Bertolt Brecht in Brecht exerted considerable influence on Frisch's early work. Both of his next two works for the theatre reflect the war. Now they sing again Nun singen sie wieder , though written in , was actually performed ahead of his first play Santa Cruz. It addresses the question of the personal guilt of soldiers who obey inhuman orders, and treats the matter in terms of the subjective perspectives of those involved.
The NZZ , then as now his native city's powerfully influential newspaper, pilloried the piece on its front page, claiming that it "embroidered" the horrors of National Socialism , and they refused to print Frisch's rebuttal.
The Chinese Wall Die Chinesische Mauer which appeared in , explores the possibility that humanity might itself be eradicated by the then recently invented atomic bomb. Robert Oppenheimer , though these pieces are all now for the most part forgotten.
Working with the theatre director Hirschfeld enabled Frisch to meet some leading fellow playwrights who would influence his later work. An admirer of Brecht's work, Frisch now embarked on regular exchanges with the older dramatist on matters of shared artistic interest.
Brecht encouraged Frisch to write more plays, while placing emphasis on social responsibility in artistic work.
Although Brecht's influence is evident in some of Frisch's theoretical views and can be seen in one or two of his more practical works, the Swiss writer could never have been numbered among Brecht's followers. This is particularly apparent in his play As the war ended Als der Krieg zu Ende war , based on eye-witness accounts of the Red Army as an occupying force.
The absented ethnic Germans were being replaced by relocated Polish speakers whose own formerly Polish homes were now included within the newly enlarged Soviet Union. A large number of European intellectuals were invited to the Peace Congress which was presented as part of a wider political reconciliation exercise between east and west. Frisch was not alone in quickly deciding that the congress hosts were simply using the event as an elaborate propaganda exercise, and there was hardly any opportunity for the "international participants" to discuss anything.
Frisch left before the event ended and headed for Warsaw , notebook in hand, to collect and record his own impressions of what was happening. Nevertheless, when he returned home the resolutely conservative NZZ concluded that by visiting Poland Frisch had simply confirmed his status as a Communist sympathizer , and not for the first time refused to print his rebuttal of their simplistic conclusions. Frisch now served notice on his old newspaper that their collaboration was at an end.
Success as a novelist[ edit ] Translated into 25 languages, Homo Faber was Frisch's top selling novel, with four million copies produced in German alone by By Frisch had accumulated roughly filled notebooks, and these were published in a compilation titled Tagebuch mit Marion Diary with Marion. In reality what appeared was not so much a diary as cross between a series of essays and literary autobiography.
He was encouraged by the publisher Peter Suhrkamp to develop the format, and Suhrkamp provided his own feedback and specific suggestions for improvements. In Suhrkamp's own newly established publishing house produced a second volume of Frisch's Tagebuch covering the period —, comprising a mosaic of travelogues, autobiographical musings, essays on political and literary theory and literary sketches, adumbrating many of the themes and sub-currents of his later fictional works.
He ends up as the leader of a revolutionary freedom movement, and finds that the power and responsibility that his new position imposes on him leaves him with no more freedom than he had before. This play flopped, both with the critics and with audiences, and was widely misinterpreted as the criticism of an ideology or as being essentially nihilistic, and strongly critical of the direction that Switzerland's political consensus was by now following.
During this time, under the working title "What do you do with love? In this play Frisch returned to his theme of the conflict between conjugal obligations and intellectual interests. The leading character is a parody Don Juan , whose priorities involve studying geometry and playing chess , while women are let into his life only periodically. After his unfeeling conduct has led to numerous deaths the anti-hero finds himself falling in love with a former prostitute.
The play proved popular and has been performed more than a thousand times, making it Frisch's third most popular drama after The Fire Raisers and Andorra The novel I'm Not Stiller appeared in The protagonist, Anatol Ludwig Stiller starts out by pretending to be someone else, but in the course of a court hearing he is forced to acknowledge his original identity as a Swiss sculptor.
For the rest of his life he returns to live with the wife whom, in his earlier life, he had abandoned. The novel combines elements of crime fiction with an authentic and direct diary-like narrative style.
It was a commercial success, and won for Frisch widespread recognition as a novelist. Critics praised its carefully crafted structure and perspectives, as well as the way it managed to combine philosophical insight with autobiographical elements. The theme of the incompatibility between art and family responsibilities is again on display.
By this time writing had become his principal source of income, and in January he closed his architectural practice, becoming officially a full-time freelance writer. At the end of Frisch started work on his novel, Homo Faber which would be published in It concerns an engineer who views life through a "technical" ultra-rational prism.
Homo Faber was chosen as a study text for the schools and became the most read of Frisch's books.
The book involves a journey which mirrors a trip that Frisch himself undertook to Italy in , and subsequently to America his second visit, this time also taking in Mexico and Cuba.
The following year Frisch visited Greece which is where the latter part of Homo Faber unfolds. Success and some disappointments as a dramatist[ edit ] Biedermann und die Brandstifter was Frisch's most successful German play to date, with productions up till The writer and literary scholar Adolf Muschg was on the Board of Trustees of the Max-Frisch-Archive between and The success of The Fire Raisers established Frisch as a world-class dramatist.
It deals with a lower middle-class man who is in the habit of giving shelter to vagrants who, despite clear warning signs to which he fails to react, burn down his house. Early sketches for the piece had been produced, in the wake of the communist take-over in Czechoslovakia , back in , and had been published in his Tagebuch — A radio play based on the text had been transmitted in on Bavarian Radio BR.
Frisch's intention with the play was to shake the self-confidence of the audience that, faced with equivalent dangers, they would necessarily react with the necessary prudence. Swiss audiences simply understood the play as a warning against Communism , and the author felt correspondingly misunderstood. For the subsequent premier in West Germany he added a little sequel which was intended as a warning against Nazism , though this was later removed. A sketch for Frisch's next play, Andorra had also already appeared in the Tagebuch — Andorra deals with the power of preconceptions concerning fellow human beings.
The principal character, Andri, is a youth who is assumed to be, like his father, Jewish. The boy therefore has to deal with anti-semitic prejudice, and while growing up he has acquired traits which those around him regard as "typically Jewish".
There is also exploration of various associated individual hypocrisies that arise in the small fictional town where the action takes place. It later transpires that Andri is his father's adopted son and therefore not himself Jewish, although the townsfolk are too focused on their preconceptions to accept this.
The themes of the play seem to have been particularly close to the author's heart: in the space of three years Frisch had written no fewer than five versions before, towards the end of , it received its first performance. The play was a success both with the critics and commercially. It nevertheless attracted controversy, especially after it opened in the United States, from those who thought that it treated with unnecessary frivolity issues which were still extremely painful so soon after the Nazi Holocaust had been publicised in the west.
Another criticism was that by presenting its theme as one of generalised human failings, the play somehow diminished the level of specifically German guilt for recent real-life atrocities. During July Frisch got to know the Carinthian writer Ingeborg Bachmann , and the two became lovers.
He had left his wife and children in and now, in , he was divorced. Although Bachmann rejected the idea of a formal marriage, Frisch nevertheless followed her to Rome where by now she lived, and the city became the centre of both their lives until in Frisch's case The relationship between Frisch and Bachmann was intense, but not free of tensions.
Frisch remained true to his habit of sexual infidelity, but reacted with intense jealousy when his partner demanded the right to behave in much the same way.
Gantenbein works through the ending of a marriage with a complicated succession of "what if?
The writer tests alternative narratives "like clothes", and comes to the conclusion that none of the tested scenarios leads to an entirely "fair" outcome.
Frisch himself wrote of Gantenbein that his purpose was "to show the reality of an individual by having him appear as a blank patch outlined by the sum of fictional entities congruent with his personality. The story is not told as if an individual could be identified by his factual behaviour; let him betray himself in his fictions.
Frisch was disappointed that his commercially very successful plays Biedermann und die Brandstifter and Andorra had both been, in his view, widely misunderstood. His answer was to move away from the play as a form of parable , in favour of a new form of expression which he termed " Dramaturgy of Permutation " "Dramaturgie der Permutation" , a form which he had introduced with Gantenbein and which he now progressed with Biographie, written in its original version in At the centre of the play is a behavioural scientist who is given the chance to live his life again, and finds himself unable to take any key decisions differently the second time round.
Lindtberg was a long established and well regarded theatre director, but his production of Biografie: Ein Spiel neither impressed the critics nor delighted theatre audiences. Frisch ended up deciding that he had been expecting more from the audience than he should have expected them to bring to the theatrical experience. After this latest disappointment it would be another eleven years before Frisch returned to theatrical writing.
Second marriage to Marianne Oellers and a growing propensity to avoid Switzerland[ edit ] In summer Frisch met Marianne Oellers, a student of Germanistic and Romance studies. He was 51 and she was 28 years younger. In they moved into an apartment together in Rome, and in autumn they relocated to Switzerland, setting up home together in an extensively modernised cottage in Berzona , Ticino. Frisch and Oellers were married at the end of Marianne Oellers accompanied her future husband on numerous foreign trips.
In order to try to form an independent assessment of "life behind the Iron Curtain " they then, in , toured the Soviet Union. They returned two years later to attend a "Writers' Congress" at which they met Christa and Gerhard Wolf , leading authors in what was then East Germany , with whom they established lasting friendships. After they married, Frisch and his young wife continued to travel extensively, visiting Japan in and undertaking extended stays in the United States.
Many impressions of these visits are published in Frisch's Tagebuch covering the period — In , after returning from the US, the couple took a second apartment in the Friedenau quarter of West Berlin , and this soon became the place where they spent most of their time. During the period —79 Frisch was able to participate increasingly in the intellectual life of the place.
More negativity about Switzerland was on show in January when he delivered a speech titled "Switzerland as a homeland? Although he nurtured no political ambitions on his own account, Frisch became increasingly attracted to the ideas of social democratic politics.
He also became friendly with Helmut Schmidt who had recently succeeded the Berlin—born Willy Brandt as Chancellor of Germany and was already becoming something of a respected elder statesman for the country's moderate left and, as a former Defence Minister , a target of opprobrium for some on the SPD 's immoderate left.
In October , slightly improbably, the Swiss dramatist Frisch accompanied Chancellor Schmidt on what for them both was their first visit to China,  as part of an official West German delegation. This happened in the village of Montauk on Long Island , and Montauk was the title the author gave to an autobiographical novel that appeared in The book centred on his love life, including both his own marriage with Marianne Oellers-Frisch and an affair that she had been having with the American writer Donald Barthelme.
There followed a very public dispute between Frisch and his wife over where to draw the line between private and public life, and the two became increasingly estranged, divorcing in Later works, old age and death[ edit ] In , Frisch survived serious health problems, and the next year was actively involved in setting up the Max Frisch Foundation Max-Frisch-Stiftung , established in October , and to which he entrusted the administration of his estate.
The foundation's archive is kept at the ETH Zurich , and has been publicly accessible since Old age and the transience of life now came increasingly to the fore in Frisch's work.